DVD Review: The Complete METROPOLIS

Title:  The Complete METROPOLIS

Year of Release—Film:  1927 (Restored version 2010)

Year of Release—DVD:  2010

DVD Label:  Kino International

One of the most influential films ever produced, Fritz Lang’s 1927 masterpiece METROPOLIS has long been hailed by critics as the seminal film in the Science-Fiction genre; the film that, more than any other, is responsible for shaping what modern Sci-Fi fans see on the screen.  No less a fan than Forrest Ackerman, the man who coined the phrase, “Sci-Fi,” considered it his favorite movie, one he had seen dozens of times.

Scripted by Thea von Harbou (at the time Lang’s wife), METROPOLIS is the tale of a great, futuristic city, divided between those of privilege, who live in the towering skyscrapers, and those who dwell underground, running the machinery that powers the great metropolis.  Freder (Gustav Fröhlich), the son of the founder of Metropolis, Joh Fredersen (Alfred Abel), lives an idyllic life.  His days are spent in pursuit of pleasure, in recreations such as sports, and pursuing liaisons with women eager to please the son of the city’s manager.

While he and several other sons of the elite are indulging themselves in playfully chasing these willing women through a garden, a door opens and a beautiful woman, poorly dressed, enters, leading scores of dirty, disheveled children in with her.  She points out the children of privilege to her charges, introducing them as their “… brothers.”  Attendants rush to remove the intruders, but Freder is captivated by the woman, and he follows her back into the bowels of the city.  There he discovers the truth behind the life of luxury enjoyed by the elite is the unceasing, backbreaking labor of those who live below.

Freder witnesses an industrial accident that leaves dozens of workmen dead.  Emotionally distraught, Freder imagines the great machine to be an enormous demon, consuming those who labor on it.  He staggers from the scene, finding his way back to familiar surroundings.  Still overwrought from his experience he goes to his father’s office, informing him of the tragedy.  In contrast to his son’s emotionalism, however, Joh Fredersen is annoyed that it fell to his son to bring him this news, rather than his secretary, a man named Josaphat (Theodor Loos).  Fredersen is further angered when Grot, the foreman of the workers, brings him cryptic diagrams found on the bodies of the dead workers, which would seem to indicate some sort of subversive activity.

When his experts prove unable to explain the meaning of the papers, Fredersen seeks the counsel of the one man who he feels can provide the answer—the scientist Rotwang (Rudolf Klein-Rogge).  As young men, they had been close friends; however, that ended when Hel, the woman Rotwang loved, left him for the wealthy and powerful Fredersen.  She died giving birth to Joh Fredersen’s child, and Rotwang has hated Joh ever since.  He has constructed a “Machine-Man” (though in the shape of a woman) which he reveals to Fredersen, explaining that he intends to give it the appearance of his long-lost Hel.

The inventor recognizes the diagrams; they are in actuality maps of ancient catacombs that lie buried far beneath the city.  The pair journeys down into the underground passages, and find a large gathering of workers.  A young woman is addressing the gathering, recounting the biblical story of the Tower of Babel.  It is Maria, the same woman who so captivated Freder in the garden.  In her interpretation of the story, the moral is that between those who planned the great tower (the Head), and those who were tasked with building it (the Hands), there was no communication, no sense of common purpose.  They needed a “Mediator” between them, the Heart, which must join Head to Hands.

As Fredersen ponders the woman’s message, he fails to notice that, among the crowd of workers, is his own son.  He has traded places with a laborer in order to experience that life, while the workman, Georgy #11811, is enjoying himself with the diversions of wealth.  Rotwang however, recognizes his rival’s heir speaking with Maria after the ‘lesson’, but keeps that information to himself.

Fredersen asks the scientist to give the maschinenmensch (machine man) Maria’s image, in order to spread dissension between the workers and she.  Rotwang agrees to this plan, concealing his true intentions—to destroy the man who robbed him of his love.

Filmed over a period of eighteen months, from March 1925 to October 1926, METROPOLIS was the costliest silent production ever undertaken, at RM (Reichsmarks) 5,000,000 (nearly $15 million, in 2009 dollars).  Photographed by Karl Freund, Günther Rittau, and Walter Ruttman, with special effects by Eugen Schüfftan, it was also the most technically ambitious film of its era.  Produced by UFA, the leading German studio in the 1920’s, Lang’s masterpiece drove the company to the brink of bankruptcy.  It premiered in Berlin on 10 January 1927, at a running time of 153 minutes.

However, shortly after its Berlin premiere, the film was heavily edited, primarily at the behest of Paramount, the studio that would distribute the film in the United States, in order to make it more commercially marketable, as well as to eliminate certain scenes that would cause problems for American exhibitors.  Much of this editing was done by Channing Pollock, a noted American playwright.  The effect of these edits shortened the film considerably, as well as altered the storyline, eliminating some plot elements entirely.  The movie became less concerned with the class struggle between those who lived in the gleaming towers of the magnificent aboveground city and those workers who tended the machinery below.  The emphasis of the story shifted to the film’s Science-Fiction aspects.  The German negative was then edited to conform to the US cut, and the sections of film excised were destroyed.  For more than eighty years, the original version of METROPOLIS was lost.

However, in 2008 it was announced that a complete negative, including that material removed in the Pollock edit, had been found in a film archive in Buenos Aires, Argentina.  The original had been transferred to 16mm at some point, without the original negative having been cleaned and properly restored first.  The result was a negative cluttered by dust, scratches, and artifacts that are now part of the image.  Nonetheless, it was a complete negative, and using it, a restoration team headed by Martin Koerber was able to recreate the movie almost as it was at the January 1927 Berlin premiere.  In February 2010, the restored version had its premiere in Berlin, just over 83 years after it had first screened.  That version is now available from Kino International in a deluxe, two-disc DVD, The Complete METROPOLIS.

Priced at $20.97 direct from Kino ($18.99 from Amazon.com), this disc is comfortably within what I consider a reasonable price range, particularly for so important a film.  It adds roughly 25 minutes to the 119-minute runtime of the 2002 restoration, as well as filling in the plot holes which have existed since 1927.  Characters once thought to be at the most minor roles have been expanded into important figures in the story.  The effect is, if not a different film, then certainly one that must be viewed in a different light.

Included on the DVD’s second disc is a documentary on the history of the movie and it’s many changes through the years, Voyage to Metropolis.  This includes footage of interviews with Lang prior to his death, as well as with those who were instrumental in bringing this version to light.  The documentary is invaluable for fans of the movie.

It’s always tricky recommending that readers buy a silent film—not because of any flaws in the films themselves, but because modern viewers seem to have little patience for silents.  If you are someone who has this ingrained dislike for silent film, please try to overcome it here.  This is arguably the most historically significant Science-Fiction motion picture ever.  It deserves to be seen and appreciated, and the fact that it can now be seen as intended only reinforces that recommendation.

Aurora’s Monster Models

ARTICLE TITLE:          Aurora’s Monster Models

 

As many devoted Horror fans also enjoy building model kits of their favorite monsters, most are well aware that Modeling is not an inexpensive hobby.  At a bare minimum, a decent resin kit from a reputable company will run 50-60 dollars, and the average would be well over $100.  Add in tools, paints, and time, and we could easily spend thousands on this hobby we love.

But that wasn’t always the case.  When I started building models, resin and vinyl kits were virtually non-existent.  Airbrushes and moto-tools were unimagined luxuries, glue came in red and white tubes and paints came in little square bottles with “Testor’s” on the cap.  My first kit was ancient even in 1972…  Monogram’s 1/72 scale Curtiss P-36 Hawk.  I doubt that I paid more than 75¢ for it, and the finished product was hardly worth bragging about.  But I was instantly hooked on a hobby that I still enjoy 37 years later.

In those days I built everything and anything… from the crappy Hawk box-scale airplanes, to Monogram TBF Avengers with a torpedo that actually dropped from the bomb bay, to Aurora’s Russian Golf-class Missile Submarine.  I even tried my hand at the Visible Eye… and wound up with something not even Lasik could save.  But given my natural affinity for the monsters, it was only a matter of time before I found the fantastic Monster kits from Aurora.

Anyone who was a regular reader of Famous Monsters in the ‘60’s and ‘70’s will remember the ads for these kits…  Dracula and Frankenstein, the Wolf-Man and the Mummy, the skeletal Prisoner chained to the section of dungeon wall, even a scraggly-toothed, wart-nosed witch, hard at work stirring a bubbling cauldron.  Famous Monsters #59, November 1969, lists several of the monster kits in the Glow-in-the-Dark style for the princely sum of $1.49… quite a bit of money when you consider that you could get a perfectly good airplane or car kit for half that.

But the monsters of Aurora were hard to ignore, and, as soon as I saw one for sale at my neighborhood Pic-n-Save, I had to have it.  It was, luckily, my favorite monster, the Mummy.  But I wouldn’t have cared which monster I wound up with…  I just wanted one of them.  Somehow, I came up with enough money to buy it.  How, I’m not sure; I am sure that it was no mean feat on a dollar a week allowance.  How much I paid for the kit is a mystery; I doubt I could have told you the next morning the price of the model.  I had one, and that was all I cared about.

When I got home with my prize, I rushed to my room and opened the box.  The figure seemed huge compared to the kits I was used to building, though simple to assemble… a definite plus at that stage in my modeling experience.  I can’t recall much detail about the kit, other than the Mummy was undeniably Kharis.  I don’t remember what color plastic it was molded in, or how good the quality was.  I just remember the joy of building it.

I later added other monsters to the collection, as well as some of the MPC Pirates of the Caribbean and AMT/Ertl Star Trek kits.  There was a Tarzan along the way, as well as a Spock, a Batman, and others.  Eventually, Aurora folded, the monster kits went away, and I returned to the B-17G’s, M60A1’s, and Federation Starships that I loved.

Now, some thirty-seven years later, those Aurora monsters are hot collector’s items, going for thirty to fifty dollars, unbuilt.  Companies such as Polar Lights have issued their own versions of those kits, and high-quality resin and vinyl monster kits abound.  These kits, especially the latter, are so far above the old Auroras in terms of quality and accuracy that comparing the two is akin to comparing a ’78 Ford Pinto to a brand-new Mercedes S-class.  I just wish I could afford them.

Yes, the new kits are better in terms of quality, better in terms of accuracy, better in terms of choice of subject matter.  The only thing they don’t do better is inspire joy and wonder in the mind of an eight-year-old boy.

Monster Toys and Ghoulish Goodies*

ARTICLE TITLE:          Monster Toys and Ghoulish Goodies^*

 

There are certain things that tend to remain with you from childhood, things that have the power to pull you back through the intervening years… the smell of bacon frying on a chilly Autumn morning that instantly wakes you up; the whistle of the feedback that would come from my dad’s hearing aid when the earpiece wasn’t adjusted just right; the sight of a Christmas tree surrounded by kids, and heaped high with gifts.  These are just some of the touchstones of my childhood, things that remind me of who I am and where I come from.

Other anchors to my past are more idiosyncratic:  rushing home from school to watch Dark Shadows and Star Trek in the afternoon, or fighting to stay up all night, just to see if I could.  My comic books and my monster mags.  My models, and my baseball and football cards.  But few things define a kid as clearly as the toys he plays with, or those he wishes he had; and few memories of childhood are sharper.

My personal taste in toys was similar to my tastes in entertainment.  I had a G.I. Joe of course, the real one, not the 3¼-inch rip-offs of the ‘80s.  He had a fully equipped foot-locker, including an astronaut’s space-suit, a deep-sea diving suit, and various combat fatigues.  He could also boast more firepower than the 2^nd Marine Division, with everything from a Colt .45, to a flame-thrower, to an M-16.  He led a veritable regiment of toy soldiers, of every conceivable size, shape, and shade of plastic.

There were dozens of toy airplanes, ranging from tiny little plastic ones intended as party favors, to one massive cast-iron Tonka plane my older sister gave me, that now would be regarded as a lawsuit waiting to happen.  It had folding wings that pinched me constantly, working landing gear that did the same, and weighed at least 2 lbs.  I’m sure that today it would be classified as a deadly weapon in most states.  Nor was the Navy neglected, as one of my favorite toys was a plastic Seaview submarine, from the TV show Voyage to the Bottom of the Sea.

But in the end, I was a child of the Ackermonster, and the toys that really stood out were the Monster and Sci-Fi toys that I owned.  Star Trek was my first love, and it was well represented in my toybox.  I had all the 8-inch Mego figures, along with the U.S.S. Enterprise Bridge playset… with working transporter, no less!  At one point or another I built every Star Trek kit AMT/Ertl put out… multiples of the U.S.S. Enterprise, as they were thoughtful enough to provide decals for every Constitution-Class starship in the fleet; the 1:1 scale Phaser, Tricorder, and Communicator set; the Klingon and Romulan ships… let’s just say a significant portion of my allowance went to that company.

The monsters certainly weren’t neglected, either.  I had toy Draculas, Frankenstein’s Monsters, Mummies… the entire Universal pantheon was well represented, as was Toho’s stable of Kaijû.  Most of these were, in retrospect, probably cheap, unlicensed knock-off’s… but that mattered not at all to a young MonsterKid who just wanted to play with his beloved monsters.  Fortunately, I was born in a time when such toys cost at most a dollar or two.  The situation isn’t so good for aspiring MonsterKids today.

As dedicated Monster collectors will attest, there is no shortage of Horror collectibles on the market today, and most of them are truly superb in terms of quality and faithfulness to their subject.  Sideshow Toys, the 800-lb. Gorilla of the Horror collectible world, leads the way in this, with dozens of beautifully sculpted figures and busts, capturing virtually all of Universal’s Monster characters, and many more modern horrors as well.  Meca and Hawthorne Village are also producing Horror collectibles; just as attractive, and just as high quality.

The one drawback to all of this?  Price.

The 12-inch Sideshow figure of Lugosi as Dracula, in the box, can cost several hundred dollars, as will the Karloff Monster, or Karloff as Im-Ho-Tep.  The complete Hawthorne Village Universal Horror town collection would represent an investment of more than a thousand dollars.  Prices for these Horror collectibles are steadily climbing, with no sign yet of softness in the market.  Yet for all their beauty and quality, they fail to fufill their prime function as toys… to be played with.

For all the Horror merchandise out there, there’s precious little that you’d let your seven- or eight-year old MonsterKid rip into in a sheer, unadulterated frenzy of childish glee.  Let’s face it, when you pay $300 for a Sideshow figure, you aren’t likely to even take it out of the box, much less hand it off to a sticky-fingered rug-monkey who ten minutes before was burying his little sister’s Malibu Barbie® in mud.  And that’s the real sadness of this.

Unless you are in your ‘80’s, you aren’t likely to have fallen in love with the classic Monsters in a movie theater.  If, like me, you’re a Baby-Boomer, then your first exposure to Karloff as the Monster, or Chaney as the Phantom, was on TV… as some middle-aged guy in monster make-up cracked bad jokes in-between segments of the movies.  Your love was fed and encouraged in the pages of Famous Monsters, and Fantastic Monsters, and Tales from the Crypt.  And it found expression in the models we built, and the 8mm monster-movies we made, and the toys with which we played.

Well, with few exceptions, infomercials have crowded out the time-slots that used to be devoted to the Horror-Hosts.  Famous Monsters is long gone, replaced by a pale, bastardized imitation.  And the models and toys of our youth have been replaced by $150 high-tech resin kits and $500 sculpted busts.

As the horror industry constantly chases their next dollar, skewing the market towards the older collectors, those who can afford to pay a few hundred dollars a pop for a collectible and have no desire to actually touch their acquisitions, perhaps they should be more concerned about where the next generation of fans will come from.

I have three Sideshow figures.  They aren’t in their boxes, and they are routinely handled.  They may not be worth $300… they may not even be worth what I paid for them.  But the joy they’ve given me has nothing to do with dollar signs or condition grades.

It’s a shame our kids can’t know that kind of joy.

---

*    From an idea suggested by fellow CreatureScape contributor Elizabeth Haney—with thanks, JPS

Uni's Trips from the Crypt: Famous Monsters Convention, 2010

Indianapolis is blossoming into one of the “in” places to be in the Horror community, helped by our close proximity to a major metropolitan area such as Chicago, and host for the past several years to the HorrorHound Convention in the spring.  Now central Indiana can boast of another Horror-Con: the Famous Monsters Convention.  Timed to coincide with, and celebrate, the relaunch of Famous Monsters of Filmland Magazine, this third incarnation of Jim Warren and Forry Ackerman’s landmark creation debuts with issue number 251, though there’s a number 250 that’s comprised of a forty-eight page tribute to the late Ackermonster himself.

The original 25-year run of this great magazine, which so endeared itself to generations of MonsterKids as to attain legendary status, has been credited as being the inspiration behind such creative talents as John Landis, George Lucas, Steven Spielberg, Joe Dante, and Peter Jackson.  Though the second incarnation of the title left a bitter taste in the mouths of fans, there’s hope that new publisher Philip Kim will restore the mag to it’s former glory.  The close cooperation of the estate of Forrest Ackerman certainly lends an important cachet to the enterprise that the previous venture lacked.

However, this is not a review of the magazine, but of the convention associated with it.  Held at the Wyndham hotel in Indianapolis from 9 July to 11 July 2010, the Unimonster, accompanied by the Crypt’s official photographer/videographer, spent two days in attendance and can report the convention was a rousing success.

Those who were following the run-up to the convention had some cause for concern, as there seemed to be some confusion initially with the reports that were coming out regarding plans for guests, movie screenings, questions about dealers’ booths, etc.  Despite some early difficulties involving the check-in process (minor ones at that), I was pleased to see that the convention was well organized, and well run.  Occupying virtually all of the available convention space in the hotel certainly helped, as the attendees had room to circulate, varying their time between the screening rooms, rooms where autograph signings were taking place, the dealers room, and other attractions.  Chief among these was the “Hall of the Living Dead,” dedicated to the stars of the Romero …DEAD films.  Several were in attendance, including such notables as John A. Russo, Tom Savini, Russ Streiner, and Judith O’Dea.  The Unimonster himself was fortunate enough to spend a few minutes in conversation with Russo, the screenwriter of NIGHT OF THE LIVING DEAD, as well as Leonard Lies, the “machete zombie” from DAWN OF THE DEAD.

As we mingled among the various attendees, it became obvious that Indianapolis horror fans, just as they did during HorrorHound in March, will turn out in droves when given the opportunity.  Fortunately, the organizers in this instance took into account a large turnout, and planned accordingly.  While the exhibit areas were busy, they weren’t so tightly jammed that one felt trapped, as was the experience at HorrorHound.

As always, one of the prime motivations for attending a convention is to reunite with old friends and meet new ones, and there was much of that happening.  Two of the Unimonster’s newest friends are Mitchell and Jessica Wells, of The Horror Society.  This was the second convention I’ve attended in their company, and I find their knowledge of, and passion for, Indie Horror to be quite refreshing.  These qualities are reflected in their web-site, which I recommend to everyone with an interest in low-budget, independent Horror Films (stay tuned for more developments involving The Horror Society—Ed.).

Two other individuals whose acquaintance I made at Famous Monsters were Joe Moe and Cortlandt Hull.  Joe Moe is well known to readers of the Crypt, as he was 2009’s Creature of the Year.  Joe was, in Forry Ackerman’s later years, the Ackermonster’s best friend, bodyguard, caregiver, and in general his right-hand man.  I’ve long been e-mail friends with Joe; it was great to meet him in person.

Cortlandt Hull is the owner and operator of The Witch's Dungeon, which is both a real-world and internet museum he began to pay homage to the great monsters of classic horror, including Dr. Wilfred Glendon, portrayed by his uncle Henry Hull in Universal’s classic 1935 film WEREWOLF OF LONDON.  Cortlandt’s latest project is THE AURORA MONSTERS: THE MODEL CRAZE THAT GRIPPED THE WORLD, a documentary examining the beloved Aurora monster models of the 1960’s, directed by he and Dennis Vincent, and starring Zacherley, the Cool Ghoul.  It is my intention to review this work sometime in the very near future, so this isn’t the last you’ll hear of this film.

Speaking of reviews, the Unimonster came away from the convention with a stack of films needing to be reviewed, and over the next few months you may expect to see my thoughts on films such as PICKMAN’S MUSE, from writer / director Robert Cappelletto [see below], and SHADOWLAND, starring former Hooters Calendar girl Caitlin McIntosh.

One of the films screened at the convention, one that I’ve reviewed this month, is David Kabler’s WANDERLOST.  Written by Kabler and Daniel Judson, it is a rambling, existentialist fantasy-horror, one that quite frankly is a bit too artsy for my tastes.  That’s not to say it isn’t well-executed, and if you enjoy the more avant-garde side of Horror, then by all means give it a try.

Without a doubt however, the big event of the weekend was a panel discussion featuring many of those who were Forry Ackerman’s closest friends and acquaintances.  Joe Moe, Mick Garris, Basil Gogos, Bela Lugosi, Jr. and others, along with Philip Kim and the editorial staff of the new Famous Monsters magazine, met to discuss their memories of Forry, the inspiration he provided to their lives, and the direction that the magazine that he was such an instrumental part of would take in the future.  Much remains to be seen in this regard, but if Kim and company stay true to the vision they laid out for the magazine, then I think Forry would approve.

Sunday at the convention was unfortunately abbreviated for me, but I was there long enough to insure that the final day was a rousing success.  Sunday, as is the norm for my conventioneering, is the day for networking, and there was much of that taking place.  I spent several minutes talking with a group there to promote the effort to honor Bob Carter, better known to those in Central Indiana as Sammy Terry, with admittance to the Indiana State Museum Hall of Fame.  Sammy, a long-time Horror host on WTTV-4, still makes occasional public appearances at conventions, and is frequently seen on local television during the Halloween season.  He has long deserved more recognition for his significant contributions, both to the Central Indiana region and to the broader history of the Hosted Horror program, and I would like to encourage everyone to support this effort to see that he receives this recognition.

Other contacts were made as well, contacts that will bear fruit that I will be sharing with you in the near future.  As I stated earlier, my Sunday session was unavoidably brief, but overall I came away from Famous Monsters Con feeling that it had been a rousing success.  As this was the first FM Con in Indianapolis, there was no reliable frame of reference with which to compare it, but I have to believe that Kim and the FM staff are pleased with the result.   There were few problems; at least few that were readily apparent to convention-goers, and everyone appeared to be having a very good time.  I can certainly attest that I did.

I’m not sure whether the Famous Monsters Con will return to Indy next year, but I hope that it does.  Not only for the obvious reason—that I had a great time and hope to attend it again—but because it’s good for local fans to be able to connect to others in the hobby, and to those who entertain and inspire us.

DVD Review: THE BEAST FROM 20,000 FATHOMS

Title: THE BEAST FROM 20,000 FATHOMS

Year of Release—Film: 1953

Year of Release—DVD: 2003

DVD Label: Warner Home Video




Ray Harryhausen is, to a generation of monster fans, the greatest Special Effects Animator of all. The protégé of Willis O’Brien, the genius who brought King Kong to life, Harryhausen had gotten his first feature job in 1949, as an assistant to O’Brien on MIGHTY JOE YOUNG. But this film was his big break, and he made the most of it.

The plot is simple, and works well, though the script falls apart somewhat in the details. A Rhedosaurus, entombed in arctic ice, is awakened by a nuclear test. Soon he is making his way to warmer climes, following the eastern coast of North America. Of course, this brings him into conflict with the U.S. Army and Navy, and better than average use is made of military surplus stock footage.
The Rhedosaurus’ attack on the lighthouse is a spectacular example of animation, and the climactic battle at Coney Island is one of the best monster scenes of the ‘50’s. It’s easy to understand why audiences were truly amazed at this Pre-GOJIRA rampage.

Though Harryhausen’s effects are not quite as polished in this film as they would be in later pictures, his talent shines through the occasional technical glitches, and it’s easy to overlook the few problems the movie has. While it’s not the best Giant Beast movie out there, it is a great one, and it’s often forgotten that Harryhausen did it a year before Toho released their King of all monsters onto an unsuspecting Tokyo.

One of the best distributors out there is Warner Home Video, and it seems that they put their best efforts into the older Genre releases. THEM, THE BLACK SCORPION, THE BEAST FROM 20,000 FATHOMS… all received treatments that are usually reserved for brand new blockbuster releases, or at least high-dollar collector’s editions. For this disc, they used as absolutely beautiful print of the film, cleaned it up nicely, subtitled it (always important to a slightly deaf Unimonster…) and packaged it nicely… even if in one of their annoying Snap cases.

WHV also loaded this disc down with special features, ones that will be of great interest to Harryhausen’s dedicated cadre of fans. The meat of the Special Feature section is contained in two documentaries, both featuring Harryhausen himself.

The first, THE RHEDOSAURUS AND THE ROLLER-COASTER: THE MAKING OF THE BEAST, is Harryhausen simply describing what went into the making of the film, primarily of course from his perspective. It’s a fascinating look at the process of creating a 1950’s B-Movie, from someone who was instrumental in the genre. While there is none of the behind-the-scene footage you’d see in a documentary of this type done today, his words aptly illustrate the goings-on.

The second, and far more heartwarming, of the documentaries is AN UNFATHOMABLE FRIENDSHIP: RAY HARRYHAUSEN AND RAY BRADBURY. This is just an open conversation between two life-long friends, who were lucky enough to do something they loved for a living. Taped in front of a gathering of fans and friends at the Warner Bros. lot, they discuss not only the film that gave them both their first real break, but the friendship that had begun years before that, and continues to this day.
The only other Special Feature is a Theatrical Trailer gallery, but it’s interesting, consisting of trailers for four of Harryhausen’s films, including BEAST… Though I’m sure it’s main purpose is to sell other Harryhausen films in WHV’s DVD catalog, it’s nonetheless entertaining.

I won’t lie to you; I’m a huge Harryhausen fan, and it would be difficult for me to be objective about this disc even if it weren’t this well done. Fortunately, that isn’t an issue… it is a superb DVD release, and I feel no guilt in saying that all “giant monster” fans, as well as anyone who considers themselves fans of Ray Harryhausen, should own this one. The list price is $19.95, damn reasonable for what you get, though I’ve seen it cheaper. I’d have paid that for the two documentaries on the disc or for the movie alone, without Special Features.

As always, it comes down to how big a fan of this genre of Horror or Science-Fiction you are, and how much you want a particular film. Speaking personally, Giant Dinosaurs, Insects and Reptiles are just about as good as it gets, and Ray Harryhausen’s creations rule that roost. The only way I can imagine it being better is to be watching it under the stars, girlfriend beside me, through the windshield of a ’54 Buick… maybe one with Nash seats.

Growing a MonsterKid

ARTICLE TITLE: Growing a MonsterKid



As I rush headlong towards middle-age, I find myself drawn deeper into a hobby that first took root when I was barely five years old. While I had many influences in my gradual transformation from somewhat normal toddler to thoroughly addicted MonsterKid, that transformation wouldn’t have begun, or have continued to grow, without the help of my two older sisters, and a kindly old “Uncle” whom I’ve never met.

My earliest monster memories involve one of my favorite books when I was very young: Maurice Sendak’s “Where the Wild Things Are”. I soon moved on to watching the Saturday afternoon creature-features in my sisters’ room. They had a 13” black & white set on their dresser, a dinosaur of a television even then. Still, it did offer an alternative to the unceasing cavalcade of sporting events that dominated the living room set when our Dad was home. Though I would one day come to share his love of sports, at that age football and baseball took a poor second to lying on my sister’s bed, listening to Lugosi intone “…I am… Dracula.”

Occasionally, my sister Dee would watch these movies with me, providing me with a reassuring presence should a monster prove a little too frightening. Such an occasion marked the first Horror film I can remember watching, William Castle’s 13 GHOSTS. I can still, nearly forty years later, recall hiding my eyes every time someone on screen would put on the goggles that let them see the ghosts.

Soon, I had progressed to the point where the efforts of Castle, Corman, and the like no longer had the power to frighten me like that first viewing of 13 GHOSTS. I watched every monster movie and creature-feature I could find on TV… at least, every one I could get away with. I was also going to the matinees and “kiddie shows”, and seeing movies that had yet to reach television.

Most of these films were pretty tame stuff… the Universal B-movies of the ‘50’s, Toho’s Kaijû films, the Basil Rathbone Sherlock Holmes films. Even the occasional Hammer would cross my path… though not the more salacious ones, of course. HORROR OF DRACULA and THE MUMMY we got. LUST FOR A VAMPIRE and COUNTESS DRACULA would wait for another day.

But as innocuous as these films seem, they fueled my hunger for Horror. I loved them all—Godzilla and Tarantula; Creature from the Black Lagoon and the Woman in Green. They opened my eyes to the variety of horror that was available, and like a pre-schooler first discovering the thrill of “See Spot Run.”, it led me to begin what would amount to a lifelong education in Horror and Science-Fiction.

The first of these was perhaps the most profound influence my young love of horror would find, a magazine that seemed to be written just for me: Famous Monsters of Filmland. Forrest J Ackerman had turned his life-long love of Horror, Fantasy, and Science-Fiction into a career, and in 1958 began a quarter-century long run as editor of James Warren’s new horror film magazine.

Known to his legion of fans by many names, such as Dr. Acula, FJA, 4E, or simply Forry, Ackerman was able to speak to kids at their level, almost as one of them. He didn’t talk down to us; he was, in a real sense, one of us. He understood what we wanted from Horror movies, and understood why. And his magazine had a way of connecting to kids that is still helping shape the direction of the genre.

The second source for new avenues of Horror for exploration was my oldest sister, Wanda. Around the time I turned 10, she began taking my brother, my cousin, and me to the movies. Not the ‘Kiddie Shows’ we were used to going to by ourselves; no, these were the real thing, at the local Drive-In.
Wanda Susan, ever-thrifty, would conceal the three of us in the trunk, and set us loose when she parked. If she were alone, we’d usually get to stay in the car; but if she were with a date, or one of her friends, we would be banished to the no-man’s land out in front of the vehicle. We’d toss down a blanket, set one of the speakers on the ground beside us, and settle in for a more-or-less pleasant evening of viewing.

And what made us put up with all that? Well, beyond the reality that when you’re a 10-year old boy that kinda stuff is F-U-N, there was the fact that my sister had rather liberal views on what was appropriate viewing material for us. In short, if we asked to see it, or just if she wanted to see it… well, we saw it. NIGHT OF THE LIVING DEAD, THE WIZARD OF GORE, BLOOD FEAST, CHILDREN SHOULDN’T PLAY WITH DEAD THINGS, LAST HOUSE ON THE LEFT… I had seen them all by my 11th summer. If there were any type of cult or exploitation film that was left out of my curriculum, then I’d be hard pressed to identify it.

If there was a graduation day for me, then it was the 11th of July, 1975… the day I stood in line for three hours, with parental approval, to see JAWS on it’s opening day. The single most frightening film I’ve ever seen; no movie, before or since, has had such a profound impact on me. So deeply was I affected that, even today, more than thirty years later, I still can’t stand the thought of swimming in the ocean… something I once loved to do.
Well, that was a lot of years ago, and yet my love of the genre continues to grow. And like anyone who has a hobby or pastime they are passionate about, I wonder where the next generation will come from, and who will nurture their love of all that’s scary.

While there’s not much I can do to substitute for my older sisters, and in many ways I doubt that would be advisable, there’s much that we, as horror fans, collectors, and vendors, can do. We can, in some small way, be Forry.
If you have a child who is interested in monster movies, encourage that interest. Get them age-appropriate Horror and Sci-Fi films to watch, and watch them together. Show them the classics, and explain just why they are ‘classic’. Help them to find appropriate books to read, and feed their interest in both Horror and reading.

We do have some handicaps to overcome that did not exist in the ‘50’s and ‘60’s. One, the availability of cheap monster toys and models to fuel young imaginations. Even adjusted for inflation, the $1.49 that an Aurora Monster kit cost in the late ‘60’s doesn’t begin to approach the price of a modern, high-tech resin kit.

Also, the genre as a whole has become less kid-friendly. Now, I’m certainly not arguing that every horror film should be PG, but I think the interests of all are served with the occasional MONSTER SQUAD or MUMMY.
And unless you live in a few select locations, the days of the hosted horror show have gone the way of the dinosaur and the dodo bird. The medium that eagerly fed our voracious appetites for scares has been co-opted by infomercials and late-night talk shows.

Perhaps the most difficult hurdle we have to overcome is the fact that Famous Monsters is no longer there to guide and inform young minds. While it’s true that there is no shortage of magazines devoted to the genre, most are simply not suitable for young children. Rue Morgue, Fangoria, Amazing Figure Modeler… all great magazines, and I read all of them regularly. But none are something that I would feel comfortable letting a 10-year old read. And most of the mags that are family-friendly are simply unreadable for anyone over 6.

But these are problems that can be surmounted. While cheap toys aren’t as easy to locate as they were in our childhoods, you can find ones that won’t require a second or third mortgage. While modern Horror is decidedly adult, rather than bemoaning that fact use it as an excuse to introduce a youngster to the joys of classic horror films. Though you might not be able to find a locally-produced horror host, many now make tapes or DVD’s of their programs available by mail-order. If all else fails, make up your own commentary as you watch a cheesy B-pic with a kid or two.

And perhaps it’s time for a new magazine, one that, while suitable for children, doesn’t talk down to them. A magazine that is able to entertain the adult horror fan as well as the next generation.

Perhaps it’s time for a new magazine, not one that copies what Forry did, but tries instead to pick up where he left off… and keeps the genre moving forward.

Uni's Trip from the Crypt: HorrorHound, 2010

ARTICLE TITLE: Uni’s Trips from the Crypt: HORRORHOUND Indianapolis 2010


About three years ago I wrote a piece describing my trip to the Wonderfest convention in Louisville, Kentucky and subtitled it “A Unimonster in Paradise.” Perhaps I should subtitle this piece “Paradise Regained,” for that is truly how rejuvenated and refreshed I feel after having spent three days at HorrorHound magazine’s Indianapolis convention.

This is the fourth year I’ve attended HorrorHound, and it’s grown each year—this year to impressive, and I must say disconcerting, proportions. It’s not that I’m not pleased to see how healthy and vital our world of genre fandom is, especially in our current economic climate. The fact that so many people are willing—and able—to come out and support those artists and entrepreneurs who make it possible for us to carry tangible memories home is terrific.

But when the exhibit floor is so closely packed with people that movement is for practical purposes impossible, when the line of people waiting to enter that exhibit hall stretches the length of a football field, with an even longer line of people waiting to purchase their admission, it is obvious to anyone who’s used to conventioneering that this event, as it’s now organized, has completely outgrown it’s current home. Part of the problem is the combination of three events—HorrorHound, the HMA Mask-Fest, and the Dark Carnival Film Fest—under one umbrella. A great idea in theory, but the practice of it will require some effort be put forth to improve traffic flow and overcrowding.

Still, it isn’t my intention to write a complaint letter. Despite the hassles of the too-large crowds in the too-small space, I must say that the HorrorHound folks do know how to put a great convention together. There is a reason so many people came out to the Indianapolis Marriott East last weekend (26-28 March), and that reason is easy to see—big stars, big events, and, on this occasion, two of the biggest names in horror: George Romero and Clive Barker.

But they weren’t the only draws at this convention, as you’ll soon see. Join the Unimonster, accompanied at times by the Uni-Sister (the Crypt’s official photographer, by the way), the Uni-Niece, and the Uni-Nephew, for a day-by-day, no-holds-barred look inside—HorrorHound Indy!
[Ed. Note: There is one sad note to Friday’s events, one I was unaware of until the following Tuesday. John McGarr, a California-based actor-producer, was struck and killed by an alleged drunk driver on his way into the venue. McGarr, whose most recent project was the 2009 independent film HOUSE OF THE WOLF-MAN, was 45. We at the Crypt wish to extend our deepest sympathies to his loved ones.]


Day One—Friday:

The contingent from the Crypt arrived bright and early for the convention, just before 4pm local time. The getting checked-in process was a little rough, but soon we were inside the exhibit hall, checking out the dealer’s tables.

For those who’ve yet to experience a Horror convention in person, the dealer’s floor can best be described as a true horror fan’s Fantasyland. It’s like a Flea Market from Hell—but in a good way. Virtually any type of Horror memorabilia one can imagine, from T-Shirts and DVD’s to original works of art, can be found for sale on the dealer’s floor, most at very reasonable prices. It’s a monstrous, blood-and-gore-drenched version of Wal-Mart, only without the crappy Muzak. And the Unimonster’s group certainly did some shopping. Whether a new book for the Crypt’s library or a set of Monster-themed rubber ducks for the Uni-Niece’s collection, we did our share for the industry.

As much fun as buying from dealers at these conventions is meeting them, along with thousands of one’s fellow fans. The joy of ‘fitting in’, of being in the company of people who share your tastes and interests, who see nothing unusual in your own love of the Monsters and the genre, cannot be overestimated. When I say how refreshed I always am after a good convention, this is usually the reason for that refreshment.

Another great thing about these conventions is the opportunity to connect with new friends and reconnect with old ones. I’m always guaranteed to meet up with my good friend and former colleague at CreatureScape, Elizabeth Haney. Elizabeth typically wears many hats when attending conventions, whether assisting friends who are here as part of Mask-Fest, or helping out with the Universal Monster Army’s Rondo-nominated display of monster toys and Halloween costumes from the ‘50’s, ‘60’s, and ‘70’s. A tireless advocate for those who strive to put forth their own take on classic horror, as well as those whose efforts run towards the modern, Elizabeth is a important presence on the Chicago horror scene.

We had the opportunity to reunite with our former boss at CreatureScape, former editor Sean Kotz. Sean, now head of Horse Archer Productions, was here to screen his new documentary, which was previously reviewed here in the Crypt [DVD Review: VIRGINIA CREEPERS: THE HORROR HOST TRADITION OF THE OLD DOMINION, 6 March 2010]. Seeing the movie on the big (well, bigger than my TV, at least…) screen, with my fellow fans in attendance, only improved my enjoyment of the film. Another reason for that improved enjoyment was the fact that several of the hosts featured in that documentary were in attendance at the convention, most notably Count Gore De Vol of Creature Features: the Web Program, and Karlos Borloff, of Monster Madhouse.

These two hosts were at HorrorHound to take part in the largest assemblage of Horror-Hosts ever gathered in one spot. More than eighty of their number—Penny Dreadful, Joe Bob Briggs, Dr. Ghoulfinger, and the Bone Jangler among them—were in attendance, meeting old fans and making new ones.

The second film on the evening’s schedule, C. W. Prather’s EVERY OTHER DAY IS HALLOWEEN, examining the career of our favorite vampire Count Gore De Vol, was the one blemish on the first night’s festivities. This was not the fault of the movie itself [reviewed below], but rather the fact that technical difficulties kept it from being shown. A replacement copy was secured for the next day; unfortunately, the scheduling did not permit it to be screened.

Instead, we were treated to a recording of the 1986 Creature Features airing of THE BRAIN THAT WOULDN’T DIE, complete with a live introduction from Count Gore himself, (with an assist from Karlos Borloff). This is the broadcast that featured Forry Ackerman as Gore’s guest, and is one of the best from the storied archives of Count Gore. Not as much fun as seeing EVERY OTHER DAY IS HALLOWEEN would be, but still enjoyable.
The first day ended well, aside from the problems with Gore’s movie, and I left the convention hall with my appetite whetted for even better experiences to come.


Day Two—Saturday:

Saturday morning at HorrorHound began with a quick circuit of the exhibit floor, taking some photos and meeting and greeting people, including a personal high point for the Unimonster, Mr. “Drive-In Critic” himself, Joe Bob Briggs. Then, after a visit with Count Gore, the Crypt’s photographer and I wandered over to the Mask-Fest room to check out that portion of the convention. Sponsored by the Halloween Mask Association, Mask-Fest 2010 was a chance for those who follow in the legendary footsteps of Don Post to display their wares to the monster-loving masses. Dozens of artists and craftspeople were assembled to show off their work, much of it truly spectacular.

Also to be found in the Mask-Fest room was the Universal Monster Army exhibit. This traveling showcase of Monster toys and collectibles from the ‘50’s through the ‘70’s is a Rondo nominee for Best Fan Event, and is something that these tired old eyes of mine always delight in seeing. The display includes Halloween costumes, decorations, and novelties, as well as the monster toys, and for the Unimonster is like a trip into his own childhood. The UMA (Pvt. Unimonster, reporting as ordered) is dedicated to preserving the MonsterKid experience of the middle decades of the last century, when Baby Boomers were children, and monsters and Horror-Hosts were our idols. It’s a fantastic display, and should be on every monster-fan’s list of must-see events.

Located next to the UMA exhibit was the display set up by Cortlandt Hull, of the Witch’s Dungeon. Partly done in tribute to his uncle Henry Hull, star of THE WEREWOLF OF LONDON, this is an incredible display, and Cortlandt’s site is one of the best devoted to classic horror. Their latest project is a documentary exploring the wonderful history of the Aurora Monster models, trailers for which can be seen at the Witch’s Dungeon.
Saturday, at least for the Unimonster, was a day for soaking it all in—the feel, the sights and sounds, absorbing the essence of the convention. As Cathy stayed busy taking the fantastic photographs used to illustrate this article (Ed. Note: more of which can be viewed at my Facebook Photo Album), I meandered about, talking to people, checking out display tables, watching the comings and goings. Conventions are very organic entities—they have an ebb and flow, a pulsebeat, and one needs to step back a little to tune into it.

In addition, Saturday, as is typical for Horror conventions, was the busiest day of the weekend, a fact made clear by the early afternoon. As the exhibit hall filled up, a line was formed to get in to the area. Another line was going in to get autographs from George Romero, yet another for Clive Barker—all essentially motionless. Those already inside had no desire to leave, as they realized the difficulties they’d have getting back in. Those in line were determined to do what they had come to do, and between them, there was simply no breathing room.

By the end of the second day of HorrorHound, it was obvious that this was a successful convention. It had been a great day, if an exhausting one, and I left looking forward to what the next day’s events would bring.


Day Three—Sunday:

Her photographic work completed, the Uni-Sister skipped the final day of the convention, and I arrived ready for some serious networking—the primary objective of the third day. Part of the reason for anyone other than a casual fan to attend a convention is to connect with others in the world of fandom, and that’s certainly true of the Unimonster. One of the connections I was able to make early on in the convention was with the folks who run the Rondo-nominated web-site The Horror Society, Mitchell and Jessica Wells. This is an excellent site devoted to independent horror, and the Wells are great advocates for young filmmakers.

One of the important features about HorrorHound Indy is the close proximity to Chicago, and it’s active indie-horror scene. One of the up-and-coming players on that scene is Dean Millermon, of Acme Design, Inc. Dean has a short film that he directed, and a copy of which I was asked to review. That short film is GARGALESE: THE TICKLE MONSTER, and a weirder seventeen minutes of film you’ll seldom see. It’s also an enjoyable, entertaining seventeen minutes, and I love the wackiness of the concept. You will get a full review of it in May, but it definitely gets a YES vote from the Unimonster. It may not be great filmmaking, but it is more enjoyable than most of what Hollywood churns out year after year.

Another Chicago filmmaker who’s also making a name for himself is Emil Hyde, of Massive Ego Productions. The company’s latest venture, THE LANDLORD, is an original, entertaining Horror-Comedy on the order of SHAUN OF THE DEAD or BUBBA HO-TEP. While not the equal of those films in quality, it is an enthusiastic, fun little movie that never takes itself too seriously. THE LANDLORD is scheduled for a widespread release on the Tempe Video label, with a drop date of 25 May, and as with GARGALESE, a full review will be posted for the May update.
An Indiana filmmaker who was taking advantage of the opportunity to promote his project close to home is Marv Blauvelt, producer / writer / cast member of SCULPTURE. Distributed by Screamkings Productions, directed by Pete Jacelone, and starring Raine Brown, Misty Mundae, and Dustin Kerns, SCULPTURE is currently in release, and will be reviewed in the near future.

But movies weren’t all that were on my mind on this weekend—not when I had the equivalent of Michael Myers’ yard sale to pick through. First, the guys from Kitley’s Krypt are always near the top of my list of dealers to visit, and this year was no exception. A fair portion of the Crypt’s library has come from Kitley’s, including this year’s acquisition of The Films of Boris Karloff. It always pays to check out their table, if non-fiction books on the genre are on your shopping list.

Another type of item that ranks high on my list of needful things is the ubiquitous horror tee. I love my Monster T-shirts, and never pass up an opportunity to add to the collection. I looked at a lot of great shirts this weekend, and finally settled on a beautiful Sir Graves Ghastly Tee. The product of Benjamin Harley’s The Screen Printing Factory, it features a stylized image of the host with the words, “I Dig Graves.” I could’ve taken another twenty shirts home easily, and would have, if not for the fact that the Unimonster’s not a wealthy man.

Then of course are all the fantastic masks and props on display as part of Mask-Fest 2010. As a child, some of the first things I can remember lusting after were the masks that Captain Company offered in the back of Famous Monsters magazine. One in particular, the Mummy, was the object of as much desire as a ten-year-old Unimonster was capable of mustering. Captain Company may be long gone, but it’s legacy lives on in the person of hundreds of skilled, talented artists, men and women who like me were inspired by their childhood love of the monsters. Unlike me, however, they have the talent to create the masterpieces in latex and resin that I saw on display. Among the dozens of mask-makers assembled for the show, several stood out among their fellows.

One of the best of these was Monte Ward’s Masks and Monsters. That table featured several spectacular examples of the mask-maker’s art, and I immediately felt the rekindling of that old love of monster masks. Also notable were the works of Kreation X, Trick or Treat Studios, and Safari Anomalous. Some of these are less masks than wearable sculptures, and are truly impressive.

As the final day’s events were winding down, I was privileged to witness the highlight of the convention, a truly historic moment in horror fandom. The occasion was a memorial service for Vampira, and all the great horror-hosts who have passed on. As images of those departed hosts flashed on the screen, accompanied by a funereal dirge, a slow candlelight procession of horror-hosts made their way to the stage, extinguished their flames, then took their seats. The master of ceremonies, Dan Roebuck’s Dr. Shocker, led the assemblage in a very fitting, very well deserved tribute to Vampira, and her alter ego Malia Nurmi. At the ceremonies conclusion, the gathered hosts formed up on stage for a group photo, which captured 83 horror-hosts in one place at one time, easily setting a record for such an occurrence.

As the convention drew to a close, I said my farewells, gathered my loot, and exited the hall. The convention itself had been exhausting, that is true. But as always, such events have a regenerative effect on me.
Anything can become tiresome, even something that you love. Conventions such as HorrorHound, however, serve to remind one of just what they love about the genre, and why they love it. For me personally, it’s a reaffirmation of the purpose served by the Crypt, which is to promote and foster a love for and understanding of the Cinema Fantastica—the movies with which I’ve had a forty-year love affair.

From Edison’s FRANKENSTEIN of 1910, to 2010’s THE CRAZIES, our genre is rich with macabre beauty and morbid wonder. Occasionally, even the Unimonster needs to be reminded of that.